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FIFTY FOOT HOSE

Psychedelic/Space Rock • United States


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Fifty Foot Hose biography
The San Francisco based FIFTY FOOT HOSE was formed in 1966 by Louis 'Cork' Marcheschi who was impressed by experimental composers. He constructed a self-made electronic instrument which was made up by a combination of elements like theremin, fuzzbox, a cardboard tube and a speaker from a World War II aircraft bomber. An experimental weird single 'Bad Trip' followed soon. Psychedelia and jazz influenced David and Nancy Blossom joined later. They became one of the first bands to fuse rock with electronic instruments and avant-garde compositional ideas. After recording a demo they got a deal with Limelight, a subsidiary of Mercury Records.

In December 1967 the first full album 'Cauldron' came out, produced with the help of Larry Evans (guitar), Kim Kimsey (drums) and Terry Hansley (bass). It's a somewhat uncanny production, way out psychedelia/folk plus some jazzy elements and spiked with primitive electronic sound effects. FIFTY FOOT HOSE also toured with other acts including Blue Cheer, Chuck Berry and Fairport Convention but broke up in 1969 when most of its members joined the musical Hair - Nancy Blossom playing the lead of the San Francisco production for example. Marcheschi moved to Minneapolis and Europe for some years, worked as an art school teacher and became a respected sculptor futhermore.

Some interest in the band resurfaced in the 1990s when FIFTY FOOT HOSE was recognized as a precursor to the electronic rock sound of some groups. 'Cauldron' was reissued on compact disc in 1996. Marcheschi reformed the group for live performances in San Francisco, with a new set of musicians. These gigs led to the release of the album 'Live & Unreleased' in 1997 which followed a new studio album named 'Sing Like Scaffold' from 1996. Two members, Walter Funk and Reid Johnston, subsequently formed the avant-garde electronic band Kwisp, the first album featuring Marcheschi. In 2006 Funk, Johnston, Marcheschi and Konstantine Baranov (producer of 'Sing Like Scaffold'), worked out a public sound installation in an atrium in Hong Kong.

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Buy FIFTY FOOT HOSE Music


Sing Like ScaffoldSing Like Scaffold
Weasel Disc Records 1996
Audio CD$15.19
$8.98 (used)
CauldronCauldron
Limited Edition
Phoenix Records 2008
Audio CD$13.93
$19.20 (used)
CauldronCauldron
Import
Radioactive 2007
Audio CD$18.99
$11.18 (used)
Fifty Foot Hose Cauldron Avantgarde/FreeFifty Foot Hose Cauldron Avantgarde/Free
Records
Audio CD$32.66
red the sign post / if not this time 45 rpm singlered the sign post / if not this time 45 rpm single
GET HIP
Vinyl$8.00 (used)
ingredients LPingredients LP
DELVAL
Vinyl$35.00
$60.00 (used)
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FIFTY FOOT HOSE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

FIFTY FOOT HOSE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.63 | 20 ratings
Cauldron
1967
4.00 | 1 ratings
Sing Like Scaffold
1996

FIFTY FOOT HOSE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Live In San Francisco
2009

FIFTY FOOT HOSE Videos (DVD, Blu-ray, VHS etc)

FIFTY FOOT HOSE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Live ... And Unreleased
1997

FIFTY FOOT HOSE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Red the Sign Post / If Not This Time
1990

FIFTY FOOT HOSE Reviews


Showing last 10 reviews only
 Cauldron by FIFTY FOOT HOSE album cover Studio Album, 1967
3.63 | 20 ratings

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Cauldron
Fifty Foot Hose Psychedelic/Space Rock

Review by Guldbamsen
Forum & Site Admin Group Site and Forum Admin

4 stars Outsider

Flipping through the American side of my record collection, I keep realising just how many underground and slightly left-field albums those Yanks produced during the late 60s/early 70s. Many which, listened to with foreign ears, sound remarkably close to what one would hear oh so far away in the experimental German scene, that later on was dubbed 'Krautrock'.

The first couple of things flying through my mind when I initially heard this album was: Amon Düül ll? From The States? 1967? What.......? Those same see-sawing rhythm guitars, raw and fabulously simple yet played with a delightful arrogance and nonchalance, that works oh so well with the rhythm section. Together these two pieces of the puzzle create a melodic, often late 60s inspired psychedelic rock, that could've been taken right out of Jefferson Airplane's most wondrous take offs. The female vocals fall smack in the middle of Grace Slick and Renate Knaup, so again, it seems like the two main influences should be out in the open by now.........or one would at least think so.

First of all Fifty Foot Hose were far too experimental for ever rightfully to be compared with The Airplane. Not even during their wildest rides did they sound as off kilter and unhinged as the scattered make shift synthesiser sounds that wreck havoc all throughout this debut entitled 'Cauldron'. Secondly, the way the blues is implemented in the back beat of this thing makes it an altogether different beast than what you hear from those crazy Germans. On here you feel as if you're listening to musicians who've been exposed to the blues since their early childhood years. Like I said, it's only accentuated in the back beat and the walking bass lines, but other than that - there's really no adept description of this thing.

The electronic device, that for some remarkable reason is able to mimic robotic birds, deep underwater chirps, disco rattlesnake jitters, disturbing animal mating screeches and other such mad buffoonery, is in fact made of various parts taken from a theremin, fuzzbox, a cardboard tube and a speaker from a World War II aircraft bomber. This facet of the music takes the sonic imagery close to the early electronic rockers, like The Silver Apples and perhaps even more so, White Noise. If there's anything remotely close to the synth experimentations on this baby, then it's probably the pioneering sorcery of one Delia Derbyshire.

Consisting of Louis Marcheschi (synth mad hatter and if I am not mistaken, inventor?), David and Nancy Blossom (guitars, piano and Nancy on the mic), Larry Evans (guitar), Kim Kimsey (drums) and Terry Hansley (bass), Fifty Foot Hose neatly taps into the prevailing psychedelic whims of the season, yet with a dirty thrust here and a highly evocative and brutish synthesiser bleep there, you're never as warm and cosy as you'd like to be. Don't get me wrong, this record is chuck full of the kind of music coming out in the late 60s that just hits the nostalgia button like the proverbial shiyiait hits the fan. Twangy surfer guitars and a breezy note to the proceedings, and suddenly you could swear you were listening to some of the more experimental parts of Brian Wilson's bastard child 'Smile'.

Personally, I think 'Cauldron' deserves far more attention from the old school proggers here on PA, as well as those who feel compelled to hear one of the coolest early American outsider sounds. It's certainly one of the very first American albums to merge the European electronic avantguarde feel with psychedelic rock and jazz. Oh yes, I almost forgot to tell you, right on the ridges of this band's sound - right there in the sweet pocket, right there you get a distinct whiff of the infinitely nimble and always infatuating softness of the old school jazz spirit. It's only a whiff, but it's there.

I keep this close to the stereo, just in case it snows, or the world explodes, or the rain stops - I always want to be in the vicinity of those trusty 'albums to put on in case of emergency'. You just know in your heart, that it's albums you never tire of, and that they're always safe to revisit. 'Cauldron' reminds me of high school and all those young hot freak chicks listening to the sounds of the 60s. Only this is the 60s with an electronic snarl to them. One I've loved since first listen.

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 Cauldron by FIFTY FOOT HOSE album cover Studio Album, 1967
3.63 | 20 ratings

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Cauldron
Fifty Foot Hose Psychedelic/Space Rock

Review by stefro
Prog Reviewer

3 stars Imagine Jefferson Airplane jamming with Silver Apples and Karl Heinz Stockhausen and you have the cult - and very strangely named - 1960's group Fifty Foot Hose and their debut(and only) recording 'Cauldron'. Released to little fanfare in 1969, 'Cauldron''s status in the rock world has grown slowly but steadily over the decades. Now, in 2010, it's branded as one of those 'lost classic' albums that reissue labels just love, and, though it is not by any means the 'classic' album it's label says it is, 'Cauldron' is a rather interesting and forward-thinking curiosity that mixes west coast acid-rock and primitive electronics with genuine enthusiasm and creativity. Strange, dated and slightly bizarre, Fifty Foot Hose's one-and-only album is an ecletic addition to the Psychedelic rock canon. STEFAN TURNER, LONDON, 2010

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 Live In San Francisco by FIFTY FOOT HOSE album cover Live, 2009
3.00 | 1 ratings

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Live In San Francisco
Fifty Foot Hose Psychedelic/Space Rock

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

— First review of this album —
3 stars This album can be treated as a surprise. Who really could expect a new sign of life of this band in 2003? FIFTY FOOT HOSE is known as an innovative project hailing from the 1960s with Cork Marcheschi as the main head behind whose passion was to construct self-made instruments. Released in 1967 their debut 'Cauldron' is characterized by an experimental approach which (later) influenced a lot of bands. Proto-psych elements in the vein of Jefferson Airplane were blended with his uncanny electronic sounds to a cocktail which was ahead of time.

After that Marcheschi disappeared from the music stage and decided to work as an art school teacher and sculptor. But here and there he reformed the group for some live performances with a new set of musicians. Even a new studio output came out in 1996. Now this album is a collection of live recordings from March 2003 in San Francisco. Marcheschi is the only original founding member here but the line-up basically consists of the same musicians he also had brought together in the 90s - Reid Johnston (guitar) and Walter Funk (electronics), drummer Dean Cook, Lenny Bove (bass) and Elizabeth Perry caring for the female vocals.

'Live in San Francisco' reflects the band's experimental avantgarde approach quite good. The first song The Ring is just a free-form electronic experience offered by Steven Baker who completes the line-up for this performance. If Not This Time follows as the first excerpt of 'Cauldron'. The band alternates between wellknown studio album outtakes and electronic excursions furthermore. I Flew At The Speed Of Smell for example derives from the 1996 'Sing Like Scaffold' album release. This song diverges from a psychedelic orientation - a dark mooded gripping one where Reid Johnston uses an aluminum tube strung resonator which sounds like a tuba.

For someone who wants to smell the spirit of the experimental 1960s 'Live in San Francisco' is an interesting unique find released by Anthology Recordings in 2009. What makes it rough though is the sound mix - not that professional, way too flat in my opinion. This album is surely off the beaten path - something for very special open-minded moments.

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 Cauldron by FIFTY FOOT HOSE album cover Studio Album, 1967
3.63 | 20 ratings

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Cauldron
Fifty Foot Hose Psychedelic/Space Rock

Review by Marty McFly
Special Collaborator Errors and Omissions Team

4 stars Psychedelic experimentation, this is what I think about this. And final rating depends on this. As an innovation to this genre, this is great album. Short tracks changing place with long ones, not so common in these years, but that's obvious, when I call it innovative. Most of songs sounds like psychedelic jamming, or sometimes even hits the blues note. I can say that these hypnotic riffs are not my own, I don't like them at all, but here, even I have to admit, that they're well suited into entire composition. And exactly this kind of guitar sound I expect from album like this, true sound of 60s with new ways of doing things. Second longest track, Fantasy. Very promising album.

4(+) because of prog.

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 Cauldron by FIFTY FOOT HOSE album cover Studio Album, 1967
3.63 | 20 ratings

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Cauldron
Fifty Foot Hose Psychedelic/Space Rock

Review by Certif1ed
Special Collaborator Honorary Collaborator

4 stars An important historical document

Fifty Foot Hose entered the bourgening arena of psychedelic rock in its US epicentre, San Francisco, in 1967 with this debut that was mind-blowing at the time, and remains mind-blowing to this day.

The principles were already established; Louis 'Cork' Marcheschi had already attempted to lead his old R&B band, The Ethix into strange and exploratory musical directions with the bizarre 1966 single Bad Trip, which could be played at either 33 or 45 RPM, and had been recorded with each musician in different rooms playing simultaneously.

Cork, like Frank Zappa, had been influenced by the works of Edgard Varese - Cork had witnessed a performance of Varese's Poem Electronique in 1962, and it was this rather than large quantities of lysergides that influenced his musical directions. Fifty Foot Hose are often cited as being unusual among the psychedelic bands in that they weren't particularly psychedelic. Listening to the music, you could have fooled me.

The methods of producing musical sounds were certainly new to pop/rock music, and seem to have been unique to Fifty Foot Hose in 1967 - a variety of home-made synthesisers hooked up to a giant speaker, and electronically modified guitars were the core of their arsenal, for a blend of rock and electronics that predates the more famous United States of America album. The only comparative album I can think of is Pierre Henry's Messe Pour le Temps Present - which kind of comes to rock from the opposite direction, as Henry was a composer of musique concrete, an approach not dissimilar to that used by the Beach Boys in their hugely influential Pet Sounds album.

Here, though, Fifty Foot Hose were not attempting to simply create comfortable music using familiar sounds, but rather to create experimental music using experimental sounds, so that everything sounded new (and possibly uncomfortable). The record company, Limelight, however, needed something that would actually sell, so this recording remains a compromise between their wild live experimentations and the crowbarring of that into a more accessible format.

You could write a whole essay based on the nuggets that surround the album - so I encourage you to explore it further and dig up more fascinating gems. There are plenty.

The Music On to the music - I'll ignore the bonus material, as it comprises remixes, and Bad Trip, both at 45 and 33 RPM - spot the difference?

Red the Sign Post is probably the stand out track, not least because the riff is that used by Ritchie Blackmore for Space Truckin. More than that, it's extremely catchy, yet otherwordly and surprisingly fresh-sounding.

The album opens with deep, deep rumbling - at first, you might be tempted to think that something has gone wrong with your system - but no!

The electronics slowly take off, and the second track, If Not This Time becomes the first song proper, and extremely catchy it is, if a bit disturbing, with Nancy Blossom's Slick-lite vocals echoing continually across the stereo picture.

The music is in a kind of Jefferson Airplane on acid style, but with more bleepy and wooey noises. It reminds me a bit of White Noise's debut in terms of atmosphere - although White Noise supercharged the electronic ambience. The bridge is a wierd but short kind of off-kilter jazz-style trip. Very strange, but one of the most accessible pieces.

The next catchy track is The Things That Concern You - although I can't help cringe at the lyrics, which are very much of their time, and rather trite, the music is pretty good for early psychedelia. It's the sudden change for the bridge and burnouts, which are the really interesting bits - and make you wish that Limelight had had the guts to allow the band to just let rip, as they are much tighter than more glorified acts such as Country Joe and the Fish, whose Electric Mind for Body and Soul album, so widely hailed, pales into insignificance beside the music here.

I've already plugged Red the Sign Post, but a mention should surely be given to Nancy Blossom for the complete change in vocal style to something more akin to Jim Morrison, with savage, slashing vocalisations.

Things calm down nicely to a kind of soft-jazz flavoured piece, which epitomises acid rock without being a complete stereotype - not least because the musicianship shows none of the signs of excess you find in bands like The Chocolate Watch Band. All the band members perform superbly here creating a satisfying and enjoyable (if somewhat dated) soundscape for Cork to paint electronic noodelry all over. Indeed, if one wasn't taking into account that this was all completely new, one might get a bid fed up with the buzzing, screeching and warbling noises that persist in polluting the soundtrack... but let's be generous!

Fantasy is the piece of interest, coming in around 10 minutes - it seems to have been fashionable to have at least one long track on an album at this time, and has a structure not dissimilar to Pink Floyd's A Saucerful of Secrets, and many sonic features that remind me strongly of some of Floyd's earliest material, including the wierd bit at the end of Bike. A very strange hotch-potch, but not one entirely without purpose or form, and certainly not one for the musically timid.

Back to the soft jazz - and then some for God Bless the Child, a Billy Holiday song in which Nancy Blossom again gets the chance to show off her under-exposed vocal talents. For my taste, she's much too far back in the mix - but I understand that there were real problems recording the synthesisers, which held no sympathy for 1967 recording technology. Absolutely wonderful little song.

And so the album comes to an end, with a startlingly futuristic jolt. Blossom again utilising her phenomenal vocal talents, with more whooshes, bleeps and other odd noises per second than the average Hawkwind or Tangerine Dream album - not to mention all the special effects and overdubs. This was clearly the band having a lot of fun in the studio, using it as an instrument in much the same way that the Beatles did when making Sgt Pepper.

Although still heavily rooted in the psychedelic experimental styles of the time, it is highly likely that you have never heard anything quite like the title track of Cauldron, even if time has not been fantastically kind to the rest of the album.

Influences and Influencees Influences on Fifty Foot Hose include the Merry Pranksters, Alan Watts and Sun-Ra - so I suppose the end result is not so surprising.

Bands the Hose influenced are many and varied, as they were name-dropped as influences by Throbbing Gristle, and then there's the matter of a certain song by a band of a less experimental nature - not to mention almost anyone that's ever used an oscillator or two and created bleepy and wooey noises in the context of a rock band.

Summary Sadly, Cauldron is not truly a masterpiece - although it is very good, especially in context - there's no real flow to the album, the pieces feel a bit contrived, and a bit more engineering time could have been spent harnessing the wild electronic voices and getting the sounds to work together, as it tends to feel like a bit of a lash-up a lot of the time.

However, patient listening pays dividends. It's not a comfortable experience, but that's not what Progressive music is about - if I wanted nice, comfortable songs, I'd go and listen to Coldplay or Keane.

I think it's essential to hear this album AT LEAST 10 TIMES (preferably on different days, months apart), and to read (and digest) as much as you can about it.

It's that important - while 3 stars is a fair award for the music, I'm pushing it up to 4 to reflect that.

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 Cauldron by FIFTY FOOT HOSE album cover Studio Album, 1967
3.63 | 20 ratings

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Cauldron
Fifty Foot Hose Psychedelic/Space Rock

Review by Rivertree
Special Collaborator Psych/Space Team & Band Submissions

3 stars Released in 1967 'Cauldron' belongs to the very early output of this genre and is characterized by the experimental approach of mastermind Louis 'Cork' Marcheschi. He developed instruments on his own with different components and the album is full of electronical gimmicks. So to say avantgarde psychedelic music coupled with a special emphasis on electronics.

Some shorter songs, or maybe interludes, are completely occupied by Marcheschi's uncanny weird tones. Others are mellow early psychedelia drenched with charming male and female vocals. For example If Not This Time which is anything but simply structured with excellent guitar work and accompanied by twittering synths. The Things That Concern You on the other hand is an example referring to the good old beat music era which was gradually fading away at that time. This could be treated as popular if there weren't Marcheschi's weird contributions and the highspeed end to which the song finally develops.

When Nancy Blossom sings I'm immediately reminded of the early Jefferson Airplane - but this is all presented in a more sophisticated way. The long track Fantasy might be the highlight of the production. Starting with repetitve playing instruments and then changing to an excellent more accessible jammming part. Last but not least a weird section follows with crazy female voices. And not to forget the title track Cauldron which is spiked with mysterious tones and samples plus deformed vocals sounding like they are on an hallucinogenic trip.

Some re-issues are existing in the meanwhile with bonus tracks. Remakes of two songs were added, released in 1990 as a single production for the first time. And Bad Trip was the first song Marcheschi ever had produced before Nancy and David Blossom joined his project. This uncanny song is pointing to his experimental approach as no other based on diversified electronics and a deep-toned bass line.

A very interesting production and differing to other genre output because of an avantgarde attitude not only caused by Cork Marcheschi's unusual electronic goodies. Ahead of time. Open-minded fans of early psychedelia output can grasp firmly if they dare to leave the familiar paths - 3.5 stars.

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